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A Teachers’ Manual 


TO ACCOMPANY 

GRADED DRAWING 

AND 

CONSTRUCTION BOOKS 

BOOKS 1, 2, 3. and 4 

]Oo^Lf O' 


A. Flanagan Company 
CHICAGO 


NCU» 

,h? 


Copyright , zp/j 
By A. Flanagan Company 



©CI.A347508 



A Teachers’ Manual 

General Suggestions 

USE OF BOOKS 1 TO 4 INCLUSIVE 

These books are planned so that they may be put into 
the hands of the children to serve as a help and inspira¬ 
tion. The text throughout the course is simply worded 
and addressed directly to the child in language within 
his vocabulary, except for an occasional term which the 
teacher will explain. However, if the children are of 
the kindergarten age, they should not be allowed to 
work in the books, but the teacher should choose what¬ 
ever is within their capabilities, devoting more time to 
such simple constructive work as paper folding and 
weaving. Not in any case in these first four books is 
it intended that the drawings given are to be copied. 
These drawings are given simply as type lessons, and 
the teacher is expected to work constantly to bring out 
originality and independence of thought in the child 
even though his execution be crude and far from perfect. 
The blank pages may be used by the child to reproduce 
his lesson after it has been successfully completed but, 
as a matter of fact, the great value of the drawing les¬ 
sons is not in the work put into the book, but in the 
daily work. 

Pages 38 and 39, Book 4 , are inserted for the benefit 
of the teacher rather than the child, as they give a fair 


3 


A TEACHERS’ MANUAL 


example of what the teacher may expect from the class 
using this book. These selections are not the work of 
a few exceptional children, but represent the ordinary 
standard of good class work, and though crude and full 
of irregularities, as is to be expected in the work of 
children, are excellent for originality and good taste, 
which qualities are always more desirable than any me¬ 
chanical perfection of detail. 

The teacher is not expected to follow the outline 
strictly, page by page, but to use it in the way that the 
most benefit may be derived. Cooperation and correla¬ 
tion with the seasons, the temporary local conditions, 
the paramount interests of events or of study in other 
branches than drawing, all tend to the accomplishment 
of more spirited and valuable work than strict adherence 
to a cut-and-dried outline, provided always, of course, 
that nothing is attempted which is beyond the possibili¬ 
ties of the child for lack of preparatory work. For 
instance, if the book were to call .for the painting of 
spring flowers in May, and an early season, brings a 
wealth of beautiful subjects, the opportunity to profit 
by them should be used. 

Owing to the arrangement of the folios it is necessary 
that the color pages occur on pages 1, 19, 22, and 40, 
but this does not necessitate that the color work must be 
taken up at precisely that time. As the Christmas sea¬ 
son always brings extra work and excitement in school, 
it is advisable to postpone taking up the serious con¬ 
sideration of color until after the holidays. If any color 


4 


A TEACHERS’ MANUAL 


is used, it should be confined to the purpose of decorat¬ 
ing constructed objects. 

Generally speaking, the principal color work should 
be taken in the fall when the flood of color appeals for 
expression, and in the spring and early summer when 
the soft greens and blues are scarcely less beautiful and 
flowers are profuse. However, the class should work 
more or less in color nearly every month of the year. 
Through the winter months the color study may be con¬ 
fined to the still-life groups, design, whatever plant forms 
are available, and winter landscapes with brilliant sun¬ 
sets. The principal action study of figures or animals 
is generally taken in the spring when the milder weather 
calls to outdoor activity; the principal constructive work 
is taken before Christmas and consists in the making 
and decorating of objects suitable for gifts; most of the 
construction, design, still life, and heavier forms of work 
are taken in the winter months, when the lure of out- 
of-doors is not so great. 

The work to be completed is planned for a school 
term beginning approximately the second week of Sep¬ 
tember and closing about the middle of June, which is 
an average between the term of nearly ten months in 
the Northern schools and the shorter term in the South, 
so that the outline may be adapted to either condition. 

ARRANGEMENT OF STUDIES 

In these first years of drawing work the principal 
thought in arrangement of studies should be the elimina- 


5 


A TEACHERS’ MANUAL 


tion of all confusing detail, and the presenting of the 
main problem to be considered in as direct a manner as 
possible. As light and shade and backgrounds are 
problems that do not come up for consideration with the 
small children, the object to be drawn should offer no 
great contrasts in light and shade, but appears as nearly 
as possible as a flat mass, against paper of the same kind 
as that which the children are using. 

Be sure that each child has a good view of the group 
or subject to be drawn. If these are of good size, it 
may be enough to place one such group or object at the 
head of each aisle on a board laid from desk to desk. 
The boards upon which cloth is wrapped are suitable 
for this purpose and are always easily obtained. When 
the objects are smaller it will be necessary to place others 
half-way down the aisle. 

If flowers or sprays are to be drawn they should be 
pinned against a sheet of drawing paper or placed in a 
bottle or dish filled with water or wet sand, so that they 
maintain their characteristic position and manner of 
growth. The receptacles in this case are not to be 
drawn. When sprays or flowers are used as subjects 
the teacher should carefully remove all leaves and twigs 
that confuse without adding to the beauty and ex¬ 
pression of characteristic growth. 

MATERIALS 

The materials required in these books are simple and 
inexpensive. The beginners should use black paper for 


6 


A TEACHERS’ MANUAL 


tearing shapes and later use scissors for cutting these 
shapes. The small colored pegs and discs are excellent 
for the little ones to arrange in simple patterns laying 
the foundation for study of design. Kindergarten papers 
in pretty colors are indispensable for the early lessons 
in constructive work. 

Clay modeling is excellent work in every grade. 
Clay may be obtained in bulk or individual sets at a 
reasonable cost. If clay is used each child should have 
his own piece and be responsible for it. Each child 
should be provided with a good brush in a large size 
(No. 6 or No. 7), three good primary water colors, and 
a large envelope to hold his drawings. Water colors 
may be varied by colored chalks in a few good shades; 
crayolas may be used in design only. 

Drawing paper should be of a grey or buff tint with a 
soft dull surface. 

MEDIUMS 

The children of these grades, working as they do in 
a broad way, must necessarily use only those mediums 
which lend themselves to these freer modes of ex¬ 
pression. Pencils are suitable only for more accurate 
and technical forms of *vork, and have no place in these 
grades, except in constructive work. 

COLOR STUDY 

Color study should be taken from the very first. The 
little beginners should learn to distinguish and call by 
name the different colors in their kindergarten papers 


7 


A TEACHERS’ MANUAL 


and pegs, and anywhere in sight, before they do any 
actual color work. The color tops which may be pro¬ 
cured at any educational supply house, furnish an ex¬ 
cellent way of teaching color. They have a flat top upon 
which a disc of one color or segments of different colors 
may be placed. The top is then spun. Supposing that 
one half of the disc is red and the other half yellow, 
when the top is spun, a brilliant orange is produced; if 
one quarter of the disc is yellow and the other three 
red, a red-orange is produced. 

When the lesson is in color all other problems should 
be simplified as much as possible so that the main 
thought may be concentrated on the color. That is why 
it is better to use for a model some object or group that 
has been studied in charcoal or ink wash, so that the 
children, having mastered to some extent the problems 
of form, size, and placement, may give their chief atten¬ 
tion to the color expression. 

LENGTH OF LESSONS 

In these lower grades the teacher is endeavoring to 
get from the children a broad, direct expression of an 
idea, not carefully worked out nicety of form or detail; 
therefore, a short lesson of fifteen or twenty minutes 
every day has much more value than longer periods of 
less frequency. This should be observed during the 
first three years at any rate. By the time the pupils 
have completed these years, they should be able to work 
profitably on the basis of three half-hour periods a week. 


8 


A TEACHERS’ MANUAL 


CRITICISM 

The criticism of the teacher should always be con¬ 
structive ; and especially when working with small 
children the teacher should always point out the things 
which are good rather than the faults. An excellent 
method of criticism is for the teacher to have all work 
collected' ’ immediately after the lesson and hung in a 
row in front of the room, then considering each picture 
in turn draw out from the class an expression of what 
is good, and guide the class in picking out the pictures 
that are worthy of remaining on the wall. 

PRESERVATION OF WORK 

There is a great deal of class work, especially in these 
grades, that need not be preserved at all, as the idea of 
the lesson with the teacher should always be the growth 
of the pupil rather than the concrete result. However, 
any lesson that is particularly successful or that may be 
useful at some future time, adapted as a decoration, 
should be saved. These completed lessons may be put 
on the pages of the drawing book, but as a child rarely 
puts his best work in the book, he should save these 
lessons in an envelope kept for the purpose. 

Any picture, no matter how crude, may be improved 
and have its best points brought out by mounting. In 
order to encourage the children, the teacher should take 
the best work and trim, mount, and hang it to the best 
advantage. Suitable mounting in soft neutral colors 
may be purchased at any educational supply house. 


9 


A TEACHERS’ MANUAL 


Special Suggestions 

(Books i to 4 , inclusive) 

The drawing work may be considered as being sepa¬ 
rated into four distinct branches, namely, object draw¬ 
ing, illustrative drawing, constructive and industrial 
work, and decoration and design. 

Object Drawing is the record or representation by 
the child as truthfully as possible of the object as it ap¬ 
pears to him, and this representation develops and modi¬ 
fies in proportion to the increasing seeing and thinking 
faculties of the child and his skill in his medium. With 
the very small children the first method of object repre¬ 
sentation should be by tearing the shape from paper. 
In this way the little fingers begin to attain a certain 
power to obey the dictates of the mind. That is the 
reason why the first work should be concerned merely 
with the picture in the mind and the fingers carrying 
out this impression, without the distraction of a tool. 
Clay modeling is of great value at this point. 

The next step is the use of a tool, namely a pair of 
scissors to cut these same shapes with a nicer feeling 
of form. Then other tools or mediums are taken in 
their proper time, to represent the objects placed before 
the eye. Using charcoal, ink wash, and water color, large 
and rather irregular forms, such as trees, should be 
studied first. Animal forms, large and distinctive in 
shape, furnish good studies. These should be studied 
out of doors and in good pictures. These pictures should 


10 


A TEACHERS’ MANUAL 


never be copied, but used only to stimulate memory and 
interest. Work of this sort must necessarily be done 
largely from memory. Vegetable and all plant forms 
should be large and distinctive of their kind. 

The object drawing of the beginning grades consists 
simply of representation of a certain shape. In the next 
grades it consists of the representation of a certain 
shape as a flat mass in a tone determined by the relative 
darkness of the object against the drawing paper. 

Figure posing comes under the head of object draw- 
ing. In the same manner, the beginners are expected 
to express the figure only as a shape to be cut or torn 
from paper. The next step is to consider the figure as a 
silhouette to be painted in ink or ink wash. Action is 
represented by the position of the various parts of the 
body. About the third year action may be considered as 
a distinct problem, but in a very simple manner, as shown 
in the study of action lines or “dottie boys,” as the chil¬ 
dren call these little figures. About the fourth year the 
figure study may be somewhat enlarged upon, as given 
in the book. 

Illustrative Drawing is to the beginners what pic¬ 
ture writing was to primitive people, simply the presen¬ 
tation of ideas by means of certain conventions. While 
this kind of drawing is so crude as to be laughable, the 
teacher must appreciate the qualities of courage and 
directness of children of this age and not crush these 
in the effort to force a better expression of form. Chil¬ 
dren at this age should be allowed to draw upon the 


11 


A TEACHERS’ MANUAL 


blackboard to express their ideas. The subjects for 
illustration should be naturally suggested by the interest 
of events, and by observation of grown people and other 
children, their occupations and habits. The smaller 
children may at first be allowed to express their ideas 
with all freedom in drawing, but all outline work must 
soon be left off, and illustration necessarily becomes 
closely allied to object drawing. If the story idea is 
there it may be considered as illustration and the orig¬ 
inality of the child would have more scope. 

For instance, if a cutting of a turkey is made after 
study of its form from reality or picture, that is repre¬ 
sentation or object drawing, and the chief consideration 
is how well he expressed that form; but, if the child 
writes or tells a story of a turkey and makes a drawing 
or a cutting of it, he has invaded the field of illustration 
and the chief concern is how well he has conveyed the 
idea or the incident of the story. By the time the chil¬ 
dren have reached about the fourth year of study, they 
should begin to put in whatever landscape setting car¬ 
ries out the idea that the figures express. 

Constructive Work for the first two years is neces¬ 
sarily limited by the lack of skill and accuracy of the 
beginners and by the extent of the mathematical study. 
Only such measurements and divisions should be taken 
as are clear to their understanding. Paper folding and 
weaving, construction of toys and tiny furniture—as 
suggested in Books I and 2,—easy measurements and 
recognition of cubes, square-prism and other solids 


12 


A TEACHERS’ MANUAL 


used in the grade, sewing cards, or whatever busy work 
is of a constructive nature, complete the work in con¬ 
struction necessary for these grades. 

In the next two years’ work, the children should de¬ 
velop the power of independent thought to some extent 
in construction. By folding paper over a solid they 
should be able to make the creases of the edges and cut 
and fold into a semblance of the original object, devis¬ 
ing ways of holding the pattern together. They should 
be able to decorate constructed articles with original 
designs. 

Stenciling may be taken in Book 4 in a simple man¬ 
ner as suggested. The constructive work should always 
be related as closely as possible to the other work in 
drawing or other branches, as illustrated in Book 4 , 
where, along with the study of Indian design, the con¬ 
struction of a tepee is a given problem. The construct¬ 
ive work of these grades calls for no other tools than 
a pencil, ruler, square corner, and in Book 4 a circle 
maker as illustrated. The corner of a card or envelope 
with firm, true edges may serve the purpose of a square 
corner. 

Decoration and Design must be considered as closely 
related to construction. When the problem of making 
a design for a constructed article is given, the purpose, 
size, and general characteristics of the constructed arti¬ 
cle must be carefully considered before a suitable deco¬ 
ration can be decided upon. 

In the first three years design is not taken up as a 


13 


A TEACHERS’ MANUAL 


distinct problem, but is always considered in its applica¬ 
tion, and the simple arrangement of squares, triangles, 
and other forms that the children make, are all con¬ 
sidered as a means of beautifying some article. 

In the fourth year the study is carried on in the same 
way until the question of Indian design is reached and 
this subject is taken up with a story interest. The life 
and habits of the Indian people; their symbolism and 
picture writing; their manner of making garments and 
utensils, and seeking to beautify these with decorations, 
crude at first, but becoming more and more beautiful as 
their skill increased; their methods of obtaining color 
from clays and plants; all of these topics weave into a 
fascinating story which gives to the children some idea 
of the meaning and growth of design. 

The observation of how the Indians drew animal and 
tree forms in straight lines, should begin to give to the 
children some idea of conventionalization, and the prob¬ 
lems of decoration assigned should take them back to 
the idea of design in its concrete form,—that is, its 
suitability for application. 

While the results of the work in design done by the 
smaller children must and should be very simple in 
effect, the underlying principles of design should be 
present in the most crude attempt of the child as well as 
in the beautiful, finished product of the master; and it 
is the problem of the teacher to see that these principles 
are grasped by her class. In the first place it is appar¬ 
ent that if there is more than one unit used there must 


14 


A TEACHERS’ MANUAL 


be some relation or sympathy between them. The chil¬ 
dren will see readily that if we would not combine a 
book and a turnip in a still-life group, so in design we 
would not put together a bird and a triangle or any two 
objects having no relation to each other; neither would 
we place some of the units so close that they appear to 
crowd each other while others set so far off that they 
seem to be strangers. 

When a variety of spacing is used, it should be with 
some fixed plan and in such a way as to add beauty to 
the design. When these principles are observed the de¬ 
sign is in harmony. 

The regular recurrence of certain lines or shapes in 
a pleasing manner is satisfying to the eye, as the regular 
beat or accent in music is to the ear. This measured 
movement in either music or design is what we know as 
rhythm. The same unit may be repeated at the same 
interval or this unit or group of units may occur at inter¬ 
vals that differ in some fixed manner, or this shape or 
unit may stand alone in one instance and in a group in 
the next. In any case, we have rhythm. 

This might be expressed in the first instance by one, 
space, one, etc.; in the second instance by one, short 
space, one, long space, one, etc.; in the third instance by 
one, space, one, two, three, space, etc. 

In another case the unit if of a reversible character, 
may be repeated alternately in different positions; or a 
unit may alternate in size, now large, now small in 
regular repetition; or two units of entirely different 


18 


A TEACHERS’ MANUAL 


shapes, provided they are harmonious, may be repeated 
alternately. 

When color or tone is used, the rhythm may be car¬ 
ried through definite alternation of the colors, or light 
and dark tones. 

In all of these cases, we see the principle of rhythm. 

When a design produces a sensation of proper dispo¬ 
sition of weight and gives a feeling of reasonableness 
and repose, we say that the design is well balanced, or 
that the principle of balance has been observed. A thing 
that rests on a base and stands in a vertical position, if 
decorated with a design heavy at the top and weak at 
the base, will appear top-heavy; but if the design is 
bold and firm at the base, and light at the top, it appears 
to be in good balance. Book or box-cover designs pro¬ 
duce a feeling of balance when the edges are observed, 
or the corners emphasized. 

We see, then, that every good design, however simple, 
observes the principles of harmony, rhythm, and balance. 
The teacher should develop in the children through their 
powers of imagination and observation a feeling for 
these first principles of design, without formulating 
rules or requiring the use of terms, at least in the be¬ 
ginning grades. 


16 


A TEACHERS’ MANUAL 


Book 1 

SEPTEMBER 

First Week. Tree Forms. Talk to the children 
about different tree forms, the spreading maple and 
tapering pine, dwelling particularly on trees which are 
common in the locality. Choose some tree of familiar 
kind and decided shape, and after a talk about its 
purpose and characteristics, let the children tear its 
shape from black or grey paper. At a later lesson let 
each child choose a different tree for his model. Never 
allow the child to choose a particular tree and be lim¬ 
ited by its individual characteristics, but have him choose 
a certain kind of tree and express its peculiar manner 
of growth. 

Second Week. Painting with Ink Wash. Each 
child should be provided with a rather large brush (No. 
7 or larger), a small dish to hold the wash and a larger 
one for the water, a little piece of rag to wipe the brush, 
and a blotter. Impress the children with the importance 
of having plenty of wash mixed before starting to 
paint, because if the wash mixed is used before the pic¬ 
ture is completed, the next to be mixed may be of a 
different tone and the picture may dry with a hard edge 
in it while the wash is being mixed. 

Fill the brush with as much of the wash as it will hold, 
and spread it on rapidly, working from the top down the 
whole width across the surface to be covered, and keep¬ 
ing the brush well supplied and the wash wet and 


17 


A TEACHERS’ MANUAL 


running. If water-color is used, the method of apply¬ 
ing is the same (Page 1). Have the children paint in 
ink wash the shapes of the same tree that they tore from 
black paper. 

Third Week. Ink Wash (Two Tones). After the 
children have become more or less proficient in the lay¬ 
ing on of flat color, have them paint the surface of their 
drawing paper an even light-grey tone; then dropping 
more ink into the wash already prepared, mix a tone 
considerably darker. When the first wash is dry enough 
to prevent spreading, lay on darker tone to represent 
trees and ground, leaving the light for the sky. 

OCTOBER 

First Week. Charcoal. Vary the ink wash by using 
charcoal, working as before for a flat, even tone. Avoid 
presenting any new problems in drawing. Have the 
children represent in charcoal the same or kindred tree 
forms that they studied before. 

Second Week. Nature Forms. Have the children 
bring to school seed pods, twigs with acorns, and other 
interesting nature forms. Select the easiest and most 
characteristic of these, pin against the same kind of 
drawing paper as that being used, and have the chil¬ 
dren paint these forms in one tone of grey wash. 

Third Week. Paper Cutting. Talk about animals, 
especially those more familiar to the children. Choose 
one and after a talk on its principal characteristics, have 
the children make cuttings of it from black paper; or 


18 


A TEACHERS’ MANUAL 

each child may choose the animal most familiar to him 
for a model. 

Fourth Week. Hallowe’en. This week the interest 
of the children will probably be centered on the coming 
event of Hallowe’en. Always take advantage of the 
present interest to impart life and spirit to the drawing 
lesson. Let the children make Hallowe’en decorations 
for home or school. Shapes of apples, pumpkins, or 
maple leaves cut from rough drawing paper and colored 
with chalks give a very pretty effect when strung to¬ 
gether in quantities. If uniformity is desired, these 
may be cut from patterns made by the teacher, but the 
effect will be pleasant however irregular the cuttings 
may be. 

NOVEMBER 

First and Second Weeks. Still Life. Vegetable 
Forms. Any vegetable that is available at this sea¬ 
son and of sufficient size to be easily seen at a reasonable 
distance may be used for a model. Where the class is 
large, arrange several studies, one in front of each aisle. 
In order to eliminate as many difficulties as possible, 
place the squash (or whatever the object may be) upon 
a sheet of drawing paper of the same kind as that which 
the children are using, and another sheet back of it. 
Use no shadow box and simplify as far as possible all 
effects of light and shade, as that is a problem for a 
much later period of progression. The subject is now 
to be considered only as a shape, a flat mass. Work for 


19 


A TEACHERS’ MANUAL 


an expression of this shape in charcoal, or ink wash. 
Endeavor to get from the class a direct expression of 
the shape in one flat tone. In using wash, the tone 
should be laid on quickly so that the last brushful is laid 
while the first is still wet. Avoid working over, which 
is bound to have a spotty, unpleasant result. Where the 
little white patches occur, they are to be left; and, as the 
small artist becomes more proficient, these little patches 
and streaks of white may be left purposely in such a way 
as to help in giving form. 

Third and Fourth Weeks. Construction. Paper 
Folding. Thanksgiving Day. Direct the class in the 
construction of one or more of the paper articles shown 
on page 15. If desired, any of the easiest exercises in 
paper folding may be given from Worst’s Constructive 
Work or any helpful source. 

For the last week, give the lesson on page 14 for the 
construction of a Puritan Hat. 

DECEMBER 

First Week. Design. Borders from Cut Paper. 

Devote this week to lessons suggested on page 16. 

Second Week. Application of Previous Lesson. In 
the first lesson, direct the construction of Post Card 
Folio, box, or any object easily made, which may be 
suitably decorated with a border design as in previous 
lesson. In the following lesson have each child apply 
his original design to the object he has constructed. 


20 


A TEACHERS’ MANUAL 


Third and Fourth Weeks. Construction of Articles 
Pertaining to Christmas. The cover for a booklet 
(Page 20) gives an easy but valuable lesson on design. 
If the small wooden pegs used so much in kindergarten 
work are available, they furnish an excellent way to 
approach the study of the border design in short straight 
lines. Let each child arrange his pegs in any symmetri¬ 
cal manner that is pleasing and suitable and then show 
with brush strokes in ink what this arrangement is. 
When the booklet is completed, if it is used as a cover for 
the arithmetic or other lessons marked “Excellent,” a 
most acceptable present is prepared for mother or father. 

The paper-weaving lesson (Page 25) will double in 
interest and value to the children when they see that the 
objects so made will serve a purpose and add value to 
the Christmas tree. 

The paper cut-out (Page 24) is intended merely as a 
suggestion of the possibilities of decoration of the little 
stories that the children will write about Christmas. 

JANUARY 

First Week. Color. Talk about color. Test the 
children’s sense of color by asking them to name the 
color of different objects in sight, avoiding subtle 
shades. Show them the three primary colors: yellow, 
red, and blue (Page 19), and how the secondary colors 
are formed, orange from yellow and red; green from 
yellow and blue; violet from red and blue. Allow no 


21 


A TEACHERS’ MANUAL 


color boxes in the class that contain more than the three 
simple colors,—yellow, red, and blue,—so that the chil¬ 
dren will have to mix their own colors. The rug design 
in water color is a simple and valuable lesson. A flat 
wash of some light color in shape of a rug is laid. When 
this has dried, stripes in two harmonious colors and dif¬ 
ferent widths are painted. Oil crayons, while not suit¬ 
able for freer forms of work, lend themselves nicely to 
this more mechanical expression, and, in case the chil¬ 
dren are not provided with suitable water colors, may 
be made to serve for an occasional color lesson. How¬ 
ever, water color is a freer and more natural mode of 
expression and the children should be allowed to work 
in water color almost from the start. 

Third and Fourth Weeks. Story Illustration. It 
will probably take several lessons to work up to the 
completed booklet. Tell the children some story which 
they already know and like, such as Red Riding Hood, 
Three Bears, or Three Little Pigs. Let the children 
first tear the shapes of the principal characters from 
black paper, working principally to express action. 

The following lesson they may cut the same shapes 
from the paper, trying to express form a little more ac¬ 
curately, as well as action. When they have succeeded 
in cutting satisfactory figures, they should next fold 
a piece of drawing paper to form a booklet and paste 
the figures on the outside as a cover design, and on the 
inside write the story which they have illustrated. It 
would be well to carry the lesson a step further and 


22 


A TEACHERS’ MANUAL 


have the children make the next book -cover in ink wash, 
first laying on a light grey wash and then painting the 
figures in a dark tone. The result cannot be accom¬ 
plished in this manner in less than three or four les¬ 
sons. If less time is given, confine the efforts of the 
class to the paper cut-outs. 

FEBRUARY 

First and Second Weeks. Paper Cutting. Geese 
are excellent subjects for paper cutting; however, if 
the class is formed of city children, to whom geese 
are unfamiliar, the lesson will have more value if the 
teacher substitutes a pigeon, dog, or some other animal 
that they see often. By cutting the large ones from 
black paper and the small ones from grey, a pleasing 
effect of variety and distance is produced when they are 
mounted. 

Third and Fourth Weeks. Design. If the little 

colored paper discs, rectangles or lozenges are procured 
ready-made from the kindergarten department of a 
school supply house, much time will fie saved and valu¬ 
able help gained. Small boxes of these little paper 
shapes are inexpensive and are of great value in giving 
ideas of design to little children, who think it play to 
arrange these in regular ways to form patterns. It is 
well for the primary teacher of drawing to have always 
on hand one or more sets of these, and when there is no 
material provided use these, as they not only fill an 
emergency, but provide a valuable lesson. 


23 


A TEACHERS’ MANUAL 


MARCH 

Outdoor Life (Animals). In paper cutting, char¬ 
coal, and wash, study hens and chickens, cats or any 
forms of animal life familiar to the children. The work 
this month is something- in the nature of a review, hut a 
little more skill should now be expected of the children, 
better expression of action, and more feeling of form. 

APRIL 

Outdoor Life (People). The teacher should have 
one of the children come to the front of the room and 
go through the action of playing some game, while the 
children watch. When this child takes his seat, have 
others cut from black paper the impression that they 
received of the child in action. 

Work in this manner all month, varying the paper 
cutting with painting in ink wash or plain ink. 

MAY 

First and Second Weeks. Trees. The children 

should renew the study of tree forms in the same manner 
that they worked in the first of the year; then carry the 
study further step by step. Paint the tree in two tones 
and show the mass of the tree broken up with open 
spaces where the light shows through. The next step 
is to put in a light grey wash, showing ground and dis¬ 
tant trees, and so complete the picture. 

Third and Fourth Weeks. Design. The teacher 
should select for each child the most successful nature 


24 


A TEACHERS’ MANUAL 


form which he has made, whether it is a tree, leaf, or 
animal, and let him use this as a pattern. This design 
should be drawn on stiff, heavy paper and carefully cut 
out. Using this as a pattern, outlines should be traced 
in a straight row; these outlines should then be filled in 
with ink or the natural color of the object which is rep¬ 
resented. 


JUNE 

Outdoor Sketching. The number of school days in 
this month varies so in different localities that it is not 
practical to assign the work by weeks. However much 
time may be left for study, this month should be pleas¬ 
antly occupied in painting ir\ color from whatever sub¬ 
jects are available, and simple pictures showing sky 
and water or land. A good effect may be Obtained 
by working in a broad, free way, as shown on page 22. 
First wash over paper with clear water; while still 
moist, spread a flat blue wash over the whole surface. 
Before this is thoroughly dry, begin laying on the colors 
for the water, putting the brush in blue color, now and 
then dropping in a little yellow and red and letting 
these run in with the blue on the wet paper so that they 
blend into the green and purple tints seen in water. 
After some practice in this manner, a suggestion of 
shore or a ship may be added to give interest. For 
white objects, such as the sails of the ship, the paper 
color should be left. 


25 


A TEACHERS’ MANUAL 


Painting from Flowers. (Page 40.) Choose some 
large flower, simple in shape and color. Paint in a flat 
tone the shape of the flower in its ground color. While 
this is still moist, drop in the other color or colors as 
they appear in the flower, letting them blend as they 
will. Add stem and leaves in proper shade of green, 
mixing more yellow than blue for yellow green, and 
more blue for blue green. 


26 


A TEACHERS’ MANUAL 


Book 2 

SEPTEMBER 

First Week. Nature Study. Talk about trees, 
especially the apple, its general shape and low spreading 
branches tipped to get the sunshine. Have the children 
draw the apple tree in charcoal or paint in wash using 
one flat grey tone. Review the lesson in Book i 
(page 4) making a landscape in two flat tones of ink 
wash or charcoal. 

Second Week. Sprays. After studying the tree as 
a whole, take a detail, a simple spray with one apple and 
some leaves. Paint in ink wash, leaving little white 
streaks and patches where they help to give form. 

Third Week. After painting the apple in ink wash, 
paint next in water color (Page 1). Paint the shape 
of the apple in its lightest color, yellow, yellow green, 
or whatever it may be. While this is still moist, dip the 
brush into the wet color and lay directly upon the light 
color the fresh strong colors in whatever forms of streaks 
or patches the individual apple shows. Add whatever 
the apple possesses of stem and leaf. 

The apple blossom is intended to be painted only at 
time of year when the real blossoms are available. 

OCTOBER 

First Week. Seeds Scattered by the Wind. (In 

connection with nature study.) Have the children bring 
to school maple and ash keys. Select some and pin 


27 


A TEACHERS’ MANUAL 


against sheets of drawing paper with leaf of tree from 
which they are taken. Have children paint these forms 
in ink wash. 

Second Week. Action Poses. The teacher will 
have some child or several children come to the front of 
the room and go through the action of playing some 
game. The other children will cut from paper or paint 
with brush and ink what they remember. 

Third Week. Picture Making from Paper Cut-outs. 
Cut a pigeon house from grey paper. From black paper 
cut shapes of pigeons flying and resting. Paste so as to 
form a complete picture. Instead of the pigeons, a dog 
and dog house may be used in the same manner. 

Fourth Week. Hallowe’en. Observe Hallowe’en 
in one or two lessons. Cut cats or witch hats from black 
paper. Fold a small sheet of drawing paper and mount 
paper cutting or paint design in black ink. On the in¬ 
side of the booklet may be written an invitation to real 
or imaginary Hallowe’en party. 

NOVEMBER 

First and Second Weeks. Still Life. Select large 
vegetables simple in shape. Paint these shapes in flat 
ink wash leaving white patches and streaks where they 
help to give form. In a later lesson, paint the same 
vegetables in color, proceeding in the same manner as 
before when painting the apple. 

Third and Fourth Weeks. Thanksgiving. Talk 
about the first settlers of our country. Let the children 


28 


A TEACHERS’ MANUAL 

illustrate Thanksgiving stories with pictures of Indians 
and Pilgrims cut from black paper or painted with ink. 

DECEMBER 

First Week. Design. Triangles. Have the chil¬ 
dren make original designs with a given triangle as a 
unit (Page 17). When this lesson is accomplished, some 
slight modifications may be made in the triangular shape. 
These designs may be applied in the manner shown on 
opposite page in drawing book. 

The remainder of this month should be devoted to 
the Christmas spirit. For paper cutting, Santa Claus 
(Page 25) is a fitting subject. This figure may be 
mounted with a few lines drawn to represent housetops 
and chimneys. 

For construction the Christmas decoration from 
Worst’s Constructive Work , shown on page 24, is an 
excellent exercise. 


JANUARY 

Color. After the children are somewhat settled 
down after the holidays, it is well to take some color 
work at this time of year to vary the construction and 
design. Only the three primary colors, yellow, red, and 
blue, should be allowed in the color boxes in order that 
the children will have to mix the colors to obtain the 
secondary colors, orange, green, and violet. 

Paper doll rugs may be made again (Page 16), only 
using water color this time instead of chalks. However, 


29 


A TEACHERS’ MANUAL 


as flowers are usually plentiful at the Christmas season, 
it is well to use them as subjects. Poinsettias are sim¬ 
ple and brilliant in color and are usually obtainable at 
this season. 

If only one good study may be had, let a different 
group of children work from it each day until every 
child has had an opportunity to paint it, or until the 
flower fades. The other children can at the same time 
be working on other studies. Winter squash, red pep¬ 
pers, winter apples and many other suitable studies may 
be easily procured. 

To paint poinsettias, or any subject, work in the 
manner shown on page 20. Paint first the shape of the 
flower in its lightest color and while this mass is still 
moist, dip the brush into whatever color is necessary to 
give the accents or variations peculiar to that flower, 
and drop into it. As the child must work with the three 
primary colors only and knows very little about mixing 
these, it will be necessary for the teacher to choose the 
subject with this fact in view. The green for leaves 
and stems must be mixed after a careful consideration 
as to whether it is a blue green or a yellow green. All 
detail must be avoided. In painting the center of the 
poinsettia (Page 22) where a softened color was desired, 
the shape was first painted in light green and while still 
moist the brush was dipped into the red and the two 
colors blended on the paper, thus giving a neutral tone, 
as red and green are complementary colors and the com¬ 
bination of any two complementaries gives the shadow 


30 


A TEACHERS’ MANUAL 


or neutral tone. However, in this grade the children 
are not expected to learn the term or principle of com¬ 
plementary colors. 

It will be desirable to spend nearly the whole month 
of January on color work, as it will probably be neces¬ 
sary to do the same lesson over many times until the 
work is satisfactory. For the sake of variety or when 
a good subject is not obtainable, one or more lessons 
may be given, using the pine tree for study. Let the 
children use charcoal and work from memory after a 
discussion of the peculiarities of the pine. After mak¬ 
ing drawings showing one tree, it is not a difficult 
matter for the children to make original winter land¬ 
scapes with snow and pines. 

FEBRUARY 

Designs from Squares. A great deal of valuable 
help may be obtained using the square alone as a basis 
of study. Let each child cut from stiff paper a square 
about the same size or a little larger than those given at 
the top of page 28. Now let each child cut his square 
into two or four equal parts, cutting from corner to 
corner or through center. Now let him set these parts 
so that they will not touch and yet will be contained in 
a square Held. This is now a modified square. (The 
teacher will teach process, omitting terms.) 

Using the cut piece of the square for a pattern, the 
child should next trace outlines and fill in with color 
or ink to form a border design. After several lessons 


31 


A TEACHERS’ MANUAL 


when the class is able to make original and satisfactory 
border designs, the problem of corner designs should be 
taken next. A sheet of drawing paper should be folded 
to represent the covers of a book, and the same design 
should be applied in each corner. A good corner design 
must accent the corner so the outer edges must be par¬ 
allel to the edges of the book. The triangles obtained 
from the cut square, placed with a suitable margin and 
with connecting lines to hold them together, form a simple 
and pleasing decoration. The modified squares so placed 
are also good. Notebooks should be made by folding 
paper inside covers of the drawing paper, and tying to¬ 
gether with ribbon or twine. Then the design should 
be applied to the cover. These books should be used, as 
it is the purpose to apply the designs that have been 
worked out whenever possible to some constructed ob¬ 
ject of practical use, as this is pleasing and encouraging 
to the child. 

Valentine Day. This day is always of interest to 
the little folks and may be made the occasion of a 
lesson in paper, cutting. Use red and white paper, and 
let each child work out his own ideas as far as possible. 

MARCH 

Outdoor Life. As the time for outdoor activity 
now begins, the work for this month should deal with 
action expressed in paper cuttings and flat wash. Take 
up the work at first in the same manner as in the begin¬ 
ning of the year (Page 8), working for an expression 


32 


A TEACHERS’ MANUAL 


of action in the paper cut-outs. Have children come 
to the front of the room and go through the actioit of 
playing some game while the others observe and cut 
from black paper their impressions of what they have 
seen. After the children have attained some degree of 
proficiency in paper cutting, some practical problems 
should be assigned, such as a cover for a Mother Goose 
book. 

APRIL 

Animal Life. Perhaps the “school cat” will allow 
herself to be observed by the children in her various 
characteristic postures and actions; or perhaps some 
child may bring to school a pet bunny or chicken. Draw 
the attention of the children to the habits of pose and 
action peculiar to this animal, then removing subject from 
sight, let them cut their impressions from black paper or 
paint with brush and ink wash. 

It is not too much to spend the whole month work¬ 
ing in this manner. Of course, a model will not be ob¬ 
tainable all of the time, but after careful study has been 
made of some certain animal some practical problem 
may be assigned, such as a cover design for “Three Lit¬ 
tle Kittens” or “Bunny Book” or whatever is suitable. 

MAY 

Poster Cutting. After the children have become 
proficient in the cutting of some animal, have them 
cut accessories in the way of still life, as the lilies and 


33 


A TEACHERS’ MANUAL 


rushes in the page of ducks, and arrange these various 
things so as to form a picture. 

Cutting of Circus Animals. Talk about each ani¬ 
mal, its peculiarities of form and action, and let each child 
express his impressions. Several lessons may be nec¬ 
essary before the children will be able to express these 
animal shapes in any recognizable form, but more growth 
is imparted to the child in this manner than by copying 
a shape cut for him. In order to get really good ani¬ 
mal shapes for the purpose of decorating the room, 
pick out the best cuttings and pointing out the good 
points of each, evolve a type form to furnish the model 
for final cuttings. Mount in a row, forming a circus 
parade. 

JUNE 

Outdoor Sketching Color. Work for an expression 
in flat color masses of outdoor scenes from nature or 
memory, showing simple stretches of sky and water or 
land, afterwards adding a tree or mass of trees to these 
first efforts. 

The flowers of this season may be used for color les¬ 
sons, selecting those most simple in color and growth 
and working after the manner shown in the lesson on 
the dandelion (Page 20). Allow no color box possess¬ 
ing more than three primary colors. 


34 


A TEACHERS’ MANUAL 

Book 3 

SEPTEMBER 

First and Second Weeks. Grasses. Ask the chil¬ 
dren to bring grasses to school. Pick out those which 
are easiest to draw and pin one single spray against 
a sheet of the same drawing paper as that which the 
children are using. As the subjects will be small it may 
be necessary to place one such spray in front of each 
aisle and one half-way down so that each child may 
have a good view. Ink wash is the best medium for 
this work, or water color, in one flat grey tone. Point 
out the characteristic manner of growth and show how 
the segments may be indicated by leaving little white 
spaces. 

Third Week. Charcoal. Trees and Landscape. 

Choose a tree that is common in the locality and familiar 
to the children (if possible the same tree studied before 
in Book /). Talk about the shape of the tree and its 
manner of growth. Have the class work with soft char¬ 
coal sharpened to a broad wedge-shaped point. Work 
must be done in mass, using no outlines and keeping 
tone as flat and even as possible. When the class has 
succeeded in massing in the tree shapes, a suggestion of 
ground and distant trees may be added. The whole pic¬ 
ture should be accomplished in two shades of grey with 
white. 

OCTOBER 

First Week. Paper Cutting. Occupations. Talk 
about different trades and occupations and lead up to an 


35 


A TEACHERS’ MANUAL 


observation of the action and clothing characteristic of 
different kinds of work, before children make cuttings. 

This lesson gives a good opportunity for the first easy 
lessons in civics and the training of the child in habits 
of observation. The successful teacher of drawing 
treats the subject not as something apart from the other 
work, but reconciles it to the other studies in such a 
way that it gives another mode of expression and im¬ 
parts life and spirit to all of the school work. 

Second Week. Construction. Direct the construc¬ 
tion of a cube in any practical dimensions after the man¬ 
ner shown on page 8. Use any kind of heavy paper 
available, and have each child do his own measuring 
and work. 

Third Week. Nature Study. Ink Wash or Water 
Color. Have the children bring autumn weeds or 
flowers to school. Choose the most desirable of these 
subjects and have the class work from these, using ink 
or water color wash in two flat tones. 

Throughout this month the teachers should take ad¬ 
vantage of the rich autumn coloring and have the class 
paint in color from outdoor subjects as much as possible, 
choosing simple scenes, such as ground and sky with one 
large tree or a distant mass of trees. See page 1. 

Fourth Week. Hallowe’en. The paper cutting les¬ 
sons may be given with subjects symbolic of Hallowe’en. 
The schoolroom may be very simply and beautifully 
decorated for this occasion with cuttings of leaf, apple, 
and pumpkin shapes from rough drawing paper, brightly 


36 


A TEACHERS’ MANUAL 


colored with chalks. If uniformity is desired, the 
original patterns may be cut by the teacher and each 
child may make his pattern from these. However, if 
each child makes his own pattern the effect will still be 
pleasing whatever the irregularities may be. 

NOVEMBER 

First, Second, and Third Weeks. Still Life, Fruit 
or Vegetables. Select objects that are simple in shape 
and of good size. Use two or three, at most, in a 
group and eliminate as far as possible all shadows and 
confusing details. For a background arrange drawing 
paper of the same kind as that which the children are 
using so that the objects may be considered as flat masses 
against a light ground. By asking a few questions, 
draw the attention of the class to the points to be con¬ 
sidered, such as which object is the nearest? which the 
highest? which is lightest? which darkest? These 
should be done without outline or shading, just simple 
flat shapes in their relative light and dark values against 
the light ground. After a satisfactory effect is obtained 
in charcoal, the same or kindred subject may be painted 
in ink wash or flat water color, working for the same 
simple flat tones. 

Fourth Week. Thanksgiving. Paper Cutting. The 

turkey makes an easy and seasonable subject for a paper¬ 
cutting lesson. In a following lesson each child may 
mount his most successful cutting, and, adding a simple 
border, make up for a calendar of the month. 


37 


A TEACHERS’ MANUAL 


DECEMBER 

First Week. Designs from Triangles. Each child 
should cut out a triangle from measurements or pattern 
given by the teacher, then cut away parts of the edge in 
some symmetrical way, working out his own ideas. How¬ 
ever, the general triangular shape must be preserved. 
When each child has succeeded in cutting, in this man¬ 
ner, a modified triangle that is pleasing and not too 
intricate in form, the next step is to cut from this pat¬ 
tern a number of such shapes, and arrange in a border, 
or all-over design. 

The rest of the month should be devoted to the Christ¬ 
mas spirit. Calendars made by mounting a suitable 
small picture and calendar pad and finishing with an 
original design in mistletoe or holly (Page 24) make 
attractive Christmas presents. 

Any of the easy lessons from Worst’s Constructive 
Work or any other helpful source that is appropriate for 
the Christmas season, may be used. 

JANUARY 

First Week. Toys. Let the children bring toys 
to school. Select those that are most easily drawn. The 
work may be done in charcoal or ink wash, or cut from 
grey paper and mounted on white. 

Second and Third Weeks. Water Color. Talk 
about color. Show how there are only three primary 
colors, yellow, red, and blue. Show on the color wheel 
(Page 19) how the orange, green, and purple are made 


38 


A TEACHERS’ MANUAL 


from these. See that each child is provided with three 
good colors of any standard make, and a good brush, 
in a large size (about a No. 7). 

Each child should have a dish to hold water, a blotter 
to take up the superfluous color from the brush, and a 
rag for cleaning. Have the class practice to attain some 
familiarity with the medium before attempting still-life 
subjects. The brush must be kept wet and well charged 
with color. Spread the color across the width of whole 
surface to be covered and work in a downward direc¬ 
tion, keeping color wet and running in order to avoid 
drying with edges. 

A good exercise in the use of water color is shown 
on page 19. A certain space (not too large) on a sheet 
of drawing paper should be moistened with brush and 
clear water. While this is still damp, the brush should 
be dipped into first one color, then another, and dropped 
into the moist paper, being careful to apply each color 
fresh and clear, or a muddy effect will be produced. 
The colors will then run together on the moist paper 
and produce a soft and mottled though brilliant effect. 

From this exercise it is but a step to painting lanterns 
(page 16). 

Fourth Week. Still Life. Vegetables. Paint in 
water colors, onions, tomatoes, red peppers or any bril¬ 
liantly-colored vegetables obtainable at this time of year. 
Work in the same manner as before, striving for flat, 
even tones. It may be well to draw the group in char¬ 
coal or paint in ink wash in a lesson previous to painting 


39 


A TEACHERS’ MANUAL 


in water color, so that the class may have some study 
in regard to the relative size, placing and color values 
of the different objects. 

FEBRUARY 

Winter Landscapes. Paint real or imaginary land¬ 
scapes. These should be extremely simple at first, con¬ 
sisting only of sky and a snow-covered hill, later adding 
a tree or a suggestion of a distant house. Paint, from 
imagination, scenes of interest that may be suggested 
by the geography or reading lesson (Page 22). Ask 
questions that will lead to habits of observation. Lead 
the children to see the shape of the hemisphere in 
the Eskimo hut and the cone in the Indian tepee. Vary 
the landscape painting with whatever review work seems 
to be most needed by the class. 

MARCH 

First Week. Action Poses. Children think it great 
fun to draw the little “Dottie Boys” and this is excellent 
practice if taken up in the right way. Show how the posi¬ 
tion of the backbone principally expresses the action. 
Insist that the head be properly placed on the backbone 
and that the body should stand properly in such a way 
that it would not fall over and that the hands and feet 
are of sufficient size. 

Second Week. Action in Paper Cutting. After 

some certain action has been studied with “Dottie Boys”, 
have the same action expressed in paper cut-outs. 


40 


A TEACHERS’ MANUAL 


Third and Fourth Weeks. Action in Ink Wash. 

The small child is not capable of holding a pose nor 
should the young children be expected to work from the 
pose as their habits of observation and concentration are 
not sufficiently developed; however, they may be led to 
express general impressions. A child should come to the 
front of the room and go through some action while the 
others observe closely. When the child takes his seat, 
the others will paint with a large brush and ink wash 
in one flat tone the impression received. 

APRIL 

First and Second Weeks. Sprays. Charcoal or 
Colored Chalks. Work according to previous method 
and general directions given on page 32. 

Third and Fourth Weeks. Spring Flowers. Water 
Color. (See page 40.) Select any large, simple spring 
flower, and work in the same general way as on page 
17 and according to directions on page 34. 

MAY 

First Week. Have the children bring leaves to 
school. Select those that are large in size and interest¬ 
ing and characteristic in shape. These shapes should be 
cut from paper and drawn in charcoal or soft pencil. 

Second Week. Design. Each child should choose 
a certain leaf and use its general shape as a pattern, 
omitting all minor notches and details. With this pat¬ 
tern as a unit he should make an original border design, 
using ink wash. 


41 


A TEACHERS’ MANUAL 


Third Week. With the same leaf as a unit, each 
child should make an original all-over design to match 
the border. 

Fourth Week. Have each child copy his designs 
in color, using two shades of one color or two pleasing 
contrasting colors. 

Draw attention to how designs are made from leaf 
and flower forms. 

If desirable the work on design throughout the month 
may be varied by a lesson in painting from still life or 
landscape. 

JUNE 

Whatever school days may be left in June should be 
devoted to color work from flowers or landscapes from 
nature. 


42 


A TEACHERS’ MANUAL 


Book 4 

SEPTEMBER 

First Week. Landscape. Talk about the beauty of 
simple scenes. Draw attention to how much may be 
expressed in three, or even two, flat tones of grey. 
Have the children draw such landscapes from memory 
or imagination. While it is too soon to take up any 
study of perspective, it is well for the teacher to begin 
to lay the foundation for future consideration of 
principles by endeavoring to draw out in the work of 
the children, a differentiation in size and color between 
similar objects near and far. Ask the questions as 
suggested and point out how the effect of distance is 
given, not only by making- the tree (or whatever the 
object may be) smaller and set higher in the picture, 
but also by making it lighter in tone. 

Second Week. Color. Continue study of landscape 
in much the same manner, in simple flat masses, sub¬ 
stituting color for black and white. Each child should 
have three good primary colors and a large brush. 
Have the class work in color as much as possible. The 
teacher will find that too many directions confuse the 
child and that it is better to take up only a very few of 
the rudiments of water color painting, and to go over 
and over these same points; namely, that the colors 
should be used wet and running, working always in a 
downward direction the whole width of the surface 
to be covered so that no part of the picture may dry 


43 


A TEACHERS’ MANUAL 


with hard edges; that the color must be fresh and 
clear, not muddy, and that plenty of color be mixed 
in the box before starting to work. 

Third Week. Trees. Talk about trees and have 
the class make drawings of different kinds of trees 
from nature or memory. Endeavor to get from the 
class an expression, not of the individual tree, but of 
the kind of tree, so that it can be seen at a glance 
whether the tree is intended for an elm, a maple, or an 
apple. The work should be done in charcoal mass, 
using no outlines. 


OCTOBER 

First Week. Grasses. Have the children bring 
grasses to school. Choose the best and pin against 
sheets of drawing paper. The work should be done 
in ink wash, or if desired soft pencil may be used by 
way of variety. 

Second Week. Border Patterns. Have each child 
choose a simple leaf shape and use it as a unit in a 
border design. Develop lesson as suggested, page 8. 

Third and Fourth Weeks. Design. Triangles. 
From a given triangle cut from heavy paper, have 
each child develop an original design, working in the 
manner suggested on page 9. This should be a very 
successful lesson, as it is usually found that the 
children take up this way of working with the in¬ 
terest they would put into a game. (See the original 


44 


A TEACHERS’ MANUAL 


designs in triangles on page 38, which were made by 
pupils of this grade.) 

NOVEMBER 

First Week. Design. Squares and Oblongs. Talk 
about the many designs that are formed of simple 
squares and oblongs. Point out, and have the children 
point out, as many of these as may be found. De¬ 
velop lesson in manner shown on page 12. From the 
school-supply houses may be obtained, at a very low 
cost, ordinary drawing paper ruled into small squares. 
It is a very good exercise for the child to practice, 
filling in with color or ink certain squares in such a 
way as to form a border or all-over pattern. 

Second and Third Weeks. Modified Squares. Sten¬ 
cils. Have each child develop an original design in 
a modified square as directed on page 14. As each 
succeeds in making a design that is satisfactory, the 
teacher should show him the process of adapting for 
a stencil design in the manner described on page 15. 
When the designs are completed, they should be ap¬ 
plied on some useful article, a box, table scarf, or 
whatever is suitable. If oil paints or dyes are not 
available the color may be put on with oil chalk well 
rubbed in and then pressed with a warm iron. 

Fourth Week. Talk about Thanksgiving and the 
early settlers of our country. Direct the construction 
of a Puritan cradle, as given on pages 10 and 11. 


45 


A TEACHERS’ MANUAL 


DECEMBER 

First Week. Observation. Show solids, cones, tri¬ 
angular prisms, and hemispheres. Have the children 
point out objects in sight that are similar in shape 
to any of these. Relate the study of these forms to 
other work in nature study or history. Talk about 
homes, how built and why; the cone-shaped tepee of 
the Indians and the box-like cabin of the early set¬ 
tlers with the roof that corresponds to a triangular 
prism. In this way an interest is imparted to the 
study of the solids, which children as a rule find to be 
very dry. Have the class make sketches, in school 
and out, of objects that suggest these forms. 

Second Week. Still Life. Give one lesson in draw¬ 
ing from objects. Arrange a group of two related 
objects that offer an agreeable contrast in size, shape, 
and color. The work should be done in charcoal or 
ink wash and the teacher should endeavor to get from 
the children an expression of the flat tones with no 
outlines, background, or shading. 

Third Week. Construction. Direct the construction 
of one or more of the articles given on page 22. Have 
each child apply his own design. The box lantern or 
transparency is easily made and very effective with the 
light shining through the design in thin colored paper. 

The stencil design made the previous month may be 
used as a decoration in making these articles, or it 
may be stamped on linen or any goods suitable for 


46 


A TEACHERS’ MANUAL 


sofa pillows or table scarfs. Any of these articles will 
make desirable Christmas presents. 

JANUARY 

First Week. Construction. Direct the construction 
of a circle maker (Page 16). 

Second Week. Color. Vary construction work with 
one or two lessons in color, using as the subject the 
same or a similar group to the one done in charcoal 
the previous month; or a winter landscape from de¬ 
scription or memory. 

Third Week. Construction. Direct the construc¬ 
tion of an Indian wigwam (Page 17). 

Fourth Week. Observation. Talk about Indian 
picture writing. Have each child finish his wigwam as 
realistically as possible. It would be a very good idea 
for teacher and class, working together, to make a 
miniature Indian village on a table or broad window 
sill. The ground may be represented by green cloth and 
sandpaper, for grass and sand; water, by blue cloth or 
paper under glass; trees, by twigs of evergreen. Any 
other ideas, easily worked out, that suggest themselves 
may be used. Then, when the best of the constructed 
wigwams are set up, there is a very pretty Indian village. 

FEBRUARY 

First and Second Weeks. Indian Design. Talk 
about Indian design. Show as many samples as possi¬ 
ble. Point out how most of the designs consist of simple 


47 


A TEACHERS’ MANUAL 


geometric forms, or nature forms simplified into straight 
lines. Talk of the symbolism of their designs. Draw 
attention to the fact that many of the colors that the 
Indians used were extracted from clays and plants which 
gave them colors that were rich and harmonious, and not 
too vivid. Have each child work up a border design 
after the manner of the Indians, using a triangle or some 
other shape in straight lines. 

Third Week. Pottery. Have each child cut a pot¬ 
tery shape from grey or manilla drawing paper, and 
apply his border design, using two colors. 

Fourth Week. Rugs and Bead Work. Show as 
many designs as possible. Have each child make articles 
given on page 40, using his ideas of color and design. 

MARCH 

First Week. Outdoor Life. Have the class make 
studies from the pose, using action lines only. Have some 
child come to the front of the room and take a pose ex¬ 
pressing some action. The pose should not be held 
longer than a minute. The class should not draw dur¬ 
ing the time the child is posing but should observe 
closely while the teacher draws attention to the principal 
points to be considered; where the weight of the body 
rests; the sweep of the long lines; the position of the 
hands and feet, in relation to the head; or whatever is 
characteristic of that particular pose. When the child 
takes his seat, the others should put down in as few 
lines as possible the impression received. 


48 


A TEACHERS’ MANUAL 


Second and Third Weeks. Drawing from Life. 

After studying the pose in action lines, carry the same 
pose a step further in the manner described on page 30. 
In order to give interest to the pose and to carry out the 
Indian study idea, the teacher should choose a dark 
complexioned child and arrange the pose suggestively 
Indian. The child should not hold the pose longer 
than five or ten minutes at a time. 

Fourth Week. Composition. Each child should 
make a simple illustration with the figure studied as the 
principle object, and sky, ground, and trees, with a sug¬ 
gestion of one or more tepees in the distance. 

If the teacher has followed the suggestion given pre¬ 
viously and has had the class construct an Indian village 
it will be an excellent idea to have the figure modeled 
in clay (after being studied in charcoal) and put into 
the village, instead of working up a composition. 

APRIL 

First Week. Design. Have each child make an 
original design, as suggested on page 33. This is in the 
nature of a review, and should now be an easy problem. 

Second and Third Weeks. Color. Paint from 
spring flowers. Choose a flower that is simple in color 
masses. Insist on fresh color used wet and running. 
(Page 1). 

Fourth Week. Calendar. Make a calendar for May 
as suggested on page 32. 


49 


A TEACHERS’ MANUAL 


MAY 

First Week. Birds. Action Lines. Study birds in 
the manner shown on page 34. Draw attention to the 
movements characteristic of different birds, and how, by 
expressing this action in a few lines one can tell what 
bird is represented. 

Second and Third Weeks. Birds. From Life. Have 
the class make drawings of birds, from life if possible, 
or from memory. Pictures may be consulted to refresh 
memories, but should not be copied. The work would be 
best done in colored chalks. 

Fourth Week. Birds in Design. Have each child 
make a pattern, using some bird that he has studied. 
Develop lesson in manner suggested on page 37. 

JUNE 

Whatever school days remain in June may be used 
in completing unfinished work and in doing as much 
out-of-door color work as possible. 


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